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 Faust—a free agent but caught in the devil's meshes—is bringing the Furies into a quiet home. Still, the most effective parts of the so-called drama are the passages of self-questioning monologue or declamation and the purely lyrical pieces. Of course, dramatic and lyrical poetry both deal with the expression of human feeling, and the boundary line between them is often invisible. Still, it is probably correct to say that the drama takes for its principle of organic structure the action of men and women upon one another, while the lyrical poem expresses the feelings of men and women in themselves. Unavoidably, therefore, the dramatist is more popular in his treatment and the lyrical poet more subtle. Othello, thinking out his causes and motives of jealousy as Browning would have depicted him, would have expressed himself in very different words from those which Iago's incisive prompting draws from him.

Now the lyrical work of the present century would seem to be distinctly in advance of any work of that exact kind done heretofore. In the ode, the battle-song, the love-song, and the drinking-song, the poets of the past cannot easily be beaten. These all are lighted up by the glint of social life. On the other hand, if we take the form of poem that hints rather than develops a thought, but hints what it means with precision, and suggests what it would be tedious to express—that form in which Goethe would have been unrivalled if Heine had not come after him,—we find that the passion, the national feeling, the religious doubt, the social cynicism of the present age have been expressed in infinite variety with marvellous wealth of feeling. Discriminate the substance from the form, and we shall see that Milton's L'Allegro and Il Penseroso professedly the expression of individual temperament are yet thronged with pictures of